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LIBRARY OF CONGRESS 



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Hollinger Corp. 
pH8.5 



THE COMPLETE 



HARDANOEB^ 



BOOIC 



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^Taro. Hadley 



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D. S. BEN NET, Publisher 

34 West Twenty-second Street 
New York 






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fue^wv nf congress! 
| Two oooies Received 
1 OCT 14 V904 
CooyrlrM Entry 
@-ct. i-V. "to*/- 
CLASS #> XXe. No. 

COPY B 

Entered according to Act of Congress in the year 1904 by 
D. S. BENNET 
in the office of the Librarian of Congress, Washington,' D. C 
All rights reserved 



unK %/-53S8<+ 



THE LACE MAKER. 



Lace jMafring. 

First Lesson on 

HARDANGER LACE. 

By Sara Had ley. 




ARD ANGER (pronounced Har-dong- 
U* er) lace originated in a small town 

of the same name in Norway. Its 
makers there have attained great 
proficiency in the art, and their cele- 
brated skill has been emulated in 
Italy, Germany and other European 
countries. It was first introduced in 
America by the editor of The Lace 
Maker in an article published in 
The Ladies' Home Journal for May, 1901. 

The counting of threads is most important, as 
one mistake will spoil the pattern and make it nec- 
essary to do the work over. It is best for a begin- 
ner to practice the making of the little squares and 
diamonds on a sampler in order that she may be- 
come familiar with the work of counting the 
threads. 

In working a shirt waist, such as that illus- 
trated in Figure No. 1, it is well to plai just 
where the work is to go and mark out the loca- 
tion with a basting line for the hem and plaits 
so that the Hardanger decoration will come ex- 




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FIGURE NO. 1.— FINISHED SHIRT-WAIST. DETAILS SHOWN 
AT FIGURES NOS. 2 AND 4. 



FIGURE NO. 2. — DETAIL OF SHIRT-WAIST. 

actly in place. As the canvas frays easily, on 
account of its loose weave, it should first be 
overcast on all of its cut edges. A pointless 
needle with a large eye should be used for doing 
the work, as a pointed needle will split the threads, 
making accuracy impossible. 

To begin the lesson : In Figures Nos. 1, 2, 
3 and 4 you will see the design laid out, part 
finished and part unfinished. Commence at the 
neck (Figure No. 2) and lead floss under and 
over three or four threads alternately to fasten, 



/* 



THE LACE MAKER. 





FIGURE NO. 3. — SHOWING METHOD OF MARKING, CUTTING 
AND WEAVING, AND THE MAKING OF THE STITCHES. 

as no knots should be made in this work. Lead «gure no. 4.— stock and tie with ends of hardanger. 

. , , r , , . (FOR DESCRIPTION SEE PAGE 6.) 

floss over four threads of the canvas, drawing 

through the fifth opening; repeat until five par- should be led so as to change at right angles (See 

allel lines of the floss appear on the canvas. In Figure No. 3). Here work five more parallel 

drawingf the last of these five lines the needle lines with the floss and again change direction 



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FIGURE NO. 5. — INSERTION USED FOR SHEETS AND BED COVERS. ALSO SUITABLE FOR TABLE AND BUFFET COVERS. 



THE LACE MAKER. 



and work a third series of parallel lines. 
Repeat this until nine series are formed, 
as in Figure No. '1, or as many as your 
pattern requires. Now reverse the 
direction and work back, in the same 
way, a new series of parallel lines to 
form the little squares of the pattern, 
making sure that the canvas in the 
center of each square has four distinct 
threads each way. There must be 
always an equal number of threads in 
each square, or else the cutting for the 
openings and the weaving of the bars 
will be interfered with. It would also 
mar the beauty of the design, producing 
unevenness and an incorrect pattern. 

The work thus started may be con- 
tinued in the directions most convenient 
until the entire design is marked out 
with the floss. To mark out the two 
parallel lines bordering the central 
bar-work, work a series of five lines of 
floss over four threads of canvas ; here 
skip four of the canvas threads and repeat with 
five more lines. Repeat thus for twelve spaces 
on the side nearest the neck-opening and thir- 
teen spaces on the far side. Mark out the 
diamond with the little squares as 
already described. Twenty-four 
squares are required for the four 
sides of the diamond. The figure 
in the diamond must be 
exactly central. Count 
your threads each way 
and be sure you are 
right before 
b e g i n n ing. 
The outer 
eds:es of the 




FIGURE NO. 



-CORNER OF FINGER-BOWL DOILY. 




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FIGURE NO. 6. — CORNER FOR PILLOW SLIPS. 



I'IGURE NO S. — CORNER DESIGN FOR CENTER-PIECE. 



central figure are half-squares formed of series 
of five parallel lines worked at right angles 
to each other and each over four threads of 
the canvas as before. The marking 
of the large squares in the center 
of the central figure is as follows : 
Work a series of five lines over 
four threads of the canvas ; next 
to this and parallel to it work a 
series of five lines over ei^ht 



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THE LACE MAKER. 



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FIGURE NO. 9. — CORNER OF BUFFET SCARF. (SEE FIGURE NO. 10.) 



threads of the canvas; next 'to this and par- 
allel to it work a series of five lines over four 
threads ; these three series form one of the four 
sides of the central figure, the center of which 
measures in each direction eight threads of the 
canvas. The other three sides of this center are 
worked the same (See Figures Nos. 2, 3 and 5). 



The straight line of small 
diamonds on either side of 
the design should be worked 
so that there will be a space 
of two threads of the canvas 
between the widest part of 
the diamond and the line of 
the nearest work toward the 
center of the figure and this 
same widest part should be 
exactly opposite the un- 
worked space of canvas op- 
posite the bars forming the 
square openings of the central 
design. The central and 
widest line of the little 
diamond is drawn over eight 
threads of the canvas, the 
lines each side of center are 
drawn over six canvas 
threads, then four threads are 
taken in and then two. This 
is repeated for each diamond, 
there being ten finished 
diamonds in a line on the 
neck side and fourteen on 
the far side of the de- 
sign. This number may 
vary in accordance with the space required to be 
filled. 

The two straight lines outside of the diamond 
rows are formed by parallel lines of floss drawn 
over four threads of the canvas, with no spaces 
and located so that a space of two canvas threads 
comes between them and the widest parts of the 



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FIGURE NO. 10. — FINISHED BUFFET SCARF. DETAIL SHOWN AT FIGURE NO. 9. 



THE LACE MAKER. 



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FIGURE NO. 11. — FINISHED CENTER-PIECE. 
FIGURE NO. 13. 



FOR DETAIL SEE 



diamonds. The outer points of the design are 
worked as already described. 

Use the utmost care in cutting the openings. 
Cut only the four threads that have been 
worked over, leaving those not so covered. (See 
lower part of large diamond, Figure No. 2, also 
Figure No. 3.) The canvas threads thus left are 
woven into bars with linen lace thread (No. 50 
or finer, according to the weight of cloth used), 
which is led under two threads and over two 
threads of the canvas alternately. The openings 



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FIGURE NO. 13. — DETAIL OF CENTER-PIECE, FIGURE NO. 11. 

inside the bars thus made may be filled with lace 
stitches such as spiders, crosses or other simple 
stitches. (See Figures Nos. 2, 3, 5, etc.) 

Any of the designs shown in this lesson may 
be used for decorating a shirt waist and substi- 
tuted for that shown at Figure No. 2, or a part 
of a design may be used for the same purpose. 
One pretty method is to dot the fronts of the 
waist, sleeves and collar with small diamonds, 
squares or medallions which may be taken from 
any of the designs here shown. 

All of the illustrations have been made as large 
as possible so that one may count the stitches 



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FIGURE NO. 12.- 



-CORNER DESIGN FOR 
COVER. 



CENTER-PIECE OR 



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FIGURE NO. 14. — CORNER DESIGN FOR CENTER-PIECE OR 
COVER. 



THE LACE MAKER. 



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FIGURE NO. 16. — CORNER DESIGN FOR PLATE 
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FIGURE NO. 17. — CORNER DESIGN FOR PLATE 
MAT OR COVER. 



readily and copy 
the work exactly 
as illustrated. 

Figure N o. 
4. — A tie - stock 
and scarf, show- 
ing one end com- 
pleted and the 
other partly fin- 
ished, is here 
illustrated. The 
partly finished 
end shows the 
cut openings 
with the re- 
maining threads 
before they have 
been woven into 
bars. The scarf 
can be made 
more elaborate 
by working a 
picot on the bars 
at their center 
as in Figure No. 
3. This picot is 
made during the 
weaving. At 
about the center 
of the bar leave 
a loop of the 
thread loose and 
fasten same with 
knot and cross to 
opposite side of 
bar leaving here 

another loose WM'&jt' 

loop and fasten- aall. Cjav 

ing this also I |J^ 

with a knot. •■? . ^"* 

Figure No. i\\\\]\ ■ •. V 

5. — This inser- 
tion is worked in I ja| 
the same man- ^*» 
ner as design in ggjf gj * % J§ 
Figures Nos. 2 
and 3 except 
that the dia- 
monds are out- ; : . ' , ** 
lined with half *m *tm *Z *t*m*m + l. ,i ** -* m*lZ. * % 

squares instead FIGU re no. 20.— corner design for plate 

of whole squares. mat or cover. 



FIGURE NO. 18. — DETAIL OF PLATE MAT SEEN 
AT FIGURE NO. 15. 



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FIGURE NO. 19. — CORNER DESIGN FOR PLATE 
MAT OR COVER. 




THE LACE MAKER. 



wMm 



The central figures in the dia- Iti'&W 

mond are worked in the same 

manner as described for Figure 

No. 2. To work the woven cross 

in middle of central figure, cut 

the eight outer threads on each M 

of the four sides of the square, 

leaving the four center threads 

on each of the four sides uncut. 

Weave the uncut threads into ^ 

bars 'as described in the lesson ; . : ™ 

beginning at the outer edge and : -. 

completing at the center ; here 

draw a single thread to the 

corner of the square and twist 

back. Repeat three times or figure no. 22. 

until cross is finished. 

Figure No. 6. — It is well to 
start this design at the corner and work both 
ways. Half-squares are used to mark the pattern. 
The inside of the large square is finished with 
two rows of open stitches like that shown in 
Figure No. 3. The leaves are worked like the 
straight rows of diamonds in Figure No. 2, 
except that more threads are worked in the leaf 
than in the diamond. 

The little eyelets are worked over and over on 
four threads of the canvas, with no cutting. 
This is shown more plainly in the doily seen at 
Figure No. 7. 

Figure No. 8. — This design is slightly reduced 
from actual size, and is one of the four corner- 
designs shown in this book (see Figures Nos. 
8, 12, and 13 and 14), which would make a hand- 



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-INSERTION FOR COVERS, SHEETS, PILLOW CASES, 
TOWELS, GOWNS, ETC. 



the set completed is 



some table set. One of 
shown at Figure No. 11. 

Figure No. 12. — A simple corner for a center- 
piece is here shown. If one learns to make the 
corner, the sides can readily be worked. The 
outside of the hem is finished with a series of 
three lines of floss worked over three threads of 
the canvas. Next this and parallel to it is 
worked a series of three lines over six threads of 
the canvas. These series, short and long, are 
worked entirely around the hem of the center- 
piece. 



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FIGURE NO. 21. — MEDALLION FOR WAISTS, 
BANDS, COVERS, ETC. (ACTUAL SIZE.) 



FIGURE NO. 23. MEDALLION FOR COVERS, DRESSES 

CURTAIN, ETC. (ACTUAL SIZE.) 



8 



THE LACE MAKER. 



Figure No. 14. — The sides of this pattern are 
made like the corner, the diamonds being re- 
peated. The diamond has four openings deco- 
rated with crossed, twisted threads and with 
picots on the bars. 

Figures Nos. 15 to 20. — A set of designs suit- 
able for plate mats or borders are here illustrated. 
As the stitches are quite distinct, they may easily 
be copies from the illustrations. 

Figure No. 21. — The squares here shown 
are formed by working seven lines over four 



Figure No. 24. — This design is easily copied. 
It is worked throughout with a series of five 
threads of floss over four threads of scrim. 



A specially prepared floss in several sizes is 
used for outlining and heavy linen thread for the 
bars and stitches. A silky material of open can- 
vas-like weave is the foundation of the work. 
There are several qualities of it. The heavy is 
used in bands for sheets, pillow-cases, towels, tea- 
cloths, and buffet and table covers. Center-pieces, 




FIGURE NO. 24. — DESIGN FOR CURTAINS, SPREAD OR VALANCE FOR BED COVER, ETC. 



threads of the canvas, the center thus formed 
measuring, each way, six threads of the can- 
vas. 

Figure No. 23. — Each of the four sides of the 
squares are formed as follows : Work a series of 
three lines of floss over three threads of the can- 
vas ; next this work three lines over six threads 
of the canvas, then three lines over nine threads, 
then three lines over six threads, and again over 
three threads. 



doilies and the like are made both of the heavy 
and the medium weight. A lighter weight is 
used for waists, ties, etc. Bed spreads and cur- 
tains are also ornamented with the Hardanger 
lace and for these a heavy open scrim is used. 

This work can be done in colors on voile or 
etamine, or on other fabrics in which the weave is 
even and permits the counting of threads. On wool 
goods the work should be done with silk of the 
same shade or in colors which blend well with it. 



THE LACE MAKER. 



Lace JMahing. 

Second Lesson on 

HARDANGER LACE, 

By Sara Hadley. 




NE excellent reason for the popu- 

Olarity of Hardanger lace is its dur- 
ability. The material is quite heavy 
and the work is easily done and not 
trying for the eyes. It is appropriate 
not only for table covers, center 
pieces, doilies and the like, but 
for insertions for sheets and pil- 
low-cases, for bands for towels, 
and borders for cur- „_„„„ 

tains ; for squares for bedspreads, 

sofa-pillow tops and corners, and 

for buffet and side-table covers. 

It is especially desirable and stylish 

for the little collars and cuffs now 

so much worn, and for decorating 

summer suits and shirt waists in 

the form of entire yokes and large 

collars. In order to make all lace 

yokes and collars, a paper pattern 

must first be cut of exactly the size 

and shape of the article required ; 

then the design is planned. A 

yoke of this kind was worked on 

fine scrim entirely with squares 



like those shown on the deep-edge trimming at 
Figure No. 51, and those in the corner at Figure 
No. 52 of this book. The edge of such collars 
or yokes may be finished with buttonholing like 
that on the edges shown in Figures Nos. 36, 38 
and 53 of this book. 

At Figure No. 25 is shown the forming of 
many stitches used in the making of Hardanger 
lace. It is well for one to practice the making 







mm 






FIGURE NO. 25. — SAMPLER SHOWING METHOD OF WORKING 



FIGURE NO. 26. — SECTION OF SHIRT-WAIST DESIGN. 
SHOWN COMPLETE AT FIGURE NO. 27. 



of these little blocks, stitches, darning and 
picots on a sampler such as this before 
starting a piece of actual work, of any 
size, as one should become familiar with 
the working of the squares, and how and 
where to cut the canvas and how many 
threads to leave uncut before beginning the 
work. 

To make the shirt waist trimming at 
Figure No. 27, shown in detail at Figure 
No. 26, it is well to cut the canvas in strips 
such as will be needed for the band for the 
front, the two cuff bands, the collar and 
the two shoulder-pieces. In cutting allow 
plenty of margin, say one inch or more, on 
each side of the work. The length of the 
front band will depend upon the size of the 
person for whom the waist is intended ; 
eighteen inches is sufficient for a waist of 
medium size. Of course, plenty of canvas 
should be allowed at the top and bottom 
of the strip for the front, for the cut- 



io 



THE LACE MAKER. 





N0 _ 27. — COMPLETED SHIRT-WAIST WITH 
HAKDANGER TRIMMING. 



ilfli: 




FIGURE NO. 28.— SECTION OF SHIRT-WAIST DESIGN. 
SHOWN COMPLETE AT FIGURE NO. 29. 



FIGURE NO. 29. — COMPLETED SHIRT- 
WAIST, WITH HARDANGER 
TRIMMING. 

ting out at the neck and for 
fitting into the waistband — 
twenty-four inches would be 
sufficient for the latter. After 
cutting the strips and before 
commencing the work the cut edges should be 
overhanded to prevent them from fraying, as 
the goods is of very loose weave and frays easily. 
To form the pattern for the 
straight band lead the floss 
over four threads of the can- 
vas, drawing it through the 
fifth opening ; repeat until 
five parallel lines of the floss 
appear on the canvas. In 
drawing the last of these five 
lines the needle should be 
led so as to change at right 
angles (see corner of Figure 
No. 26). Repeat, at right 
angles to the first series, five 
more lines of the floss over 
four threads of the canvas. 
Here, after skipping four 
threads of the canvas, work 
directlv in line with the sec- 



THE LACE MAKER. 



II 



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FIGURE NO. 30. — SECTION OF SHIRT-WAIST 

TRIMMING. SHOWN COMPLETE 

AT FIGURE NO. 31. 



ond series a third series of five lines of 
the floss over four threads of the canvas ; 
skip again four threads of the canvas 
and make another series like the others 
directly in line with the second and third 
series. Repeat with two more series 
before turning again at right angles, 
making in line with each other four 
series of worked lines and six open 
spaces of four lines of the canvas for the 
width of the design. The outer edges 
of the design may be outlined in this 
manner before any of the inside work is 
undertaken. The inside work may be 
easily planned after the edges are thus 
outlined. The work is so plainly illus- 
trated at Figure Xo. 26, that the threads 



may there be easily counted. The illustration also 
shows where the canvas threads arc cut. The four 
threads of the canvas which are not cut and which are 
not worked over with the floss are to be worked over by 
weaving with the linen thread under two threads and 
over two threads of the canvas, as shown in the sampler 
at Figure No. 25, and in the finished hars at Figure 
Xo. 26. To make the four diamonds of the design at 
Figure Xo. 26, work for the first row, with the linen 
thread, a series of two double stitches, each taking in 
two threads of the canvas. For the second row work- 
four double stitches, taking in with each two threads 
of the canvas, each four stitches to be under the two 
stitches of the first row or two directly under and one 
at either side. The third row is made of series of six 
double stitches worked over two threads of the canvas 
and under each four stitches of the preceding row. 
The fourth row is a repetition of the third; the fifth is 
like the second, being made with a series of four double 
stitches, each worked over two threads of the canvas 
and under each six stitches of the preceding row. 
The sixth row is like the first and completes the dia- 
mond. Make three more diamonds like the one just de- 
scribed, in a square, as illustrated; be sure that there 
are four plain threads of the canvas each way left in 
the center. In making the shoulder-straps for the shirt 
waist at Figure No. 27, the lower ends of the straps are 




FIGURE NO. 31. — COMPLETED SHIRT-WAIST WITH HARDANGER 
TRIMMING. 



12 



THE LACE MAKER. 




FIGURE NO. 32. — TRIMMING EDGE. 

worked to form a point, so as to give them a 
proper finish. To properly finish the collar and 
cuffs an edge is worked with the floss like either 
of those shown at Figure No. 50 on page 19 of 
this book. 

To work the trimming for the shirt waist at 
Figure No. 29, shown in detail at Figure No. 28, 
begin the outlining at the corner of the first large 
open square. Lead the floss over four threads of 
the canvas and through the fifth opening; repeat 
until four lines of the floss appear on the canvas. 
Alongside this series of four lines of floss over 
four threads of canvas, work a series of five lines 
of floss over eight threads of canvas and next 
this work another series of four lines of floss 
over four threads of the canvas. This completes 
the outlining of one side of the square. Repeat 
the next side at right angles to the first and so on 
until the square is outlined. For the openings 
in the canvas cut all but the four central threads 
each way of the square. These are woven with 
the linen thread under two 
and over two threads until 
you come to that part of each 
of the four bars where the 
picot appears. This picot is 
worked by winding the thread 
three or four times around the 
needle and after leading the 
thread through these wind- 
ings draw up exactly as de- 
scribed for the picot stitch in 
Royal Battenberg lace and 
illustrated in Figures Nos. 6, 
7 and 8, page 180, of The 
Lace Maker for October, 
1903. The picot thus made 
on one side of the bar must 



be repeated on the opposite side and the 
weaving then continue to the center as 
shown. The other bars are woven in 
the same manner (see Figure No. 25), 
and after outlining and finishing one 
square you have the foundation for the 
other squares which are made in the 
same manner. Observe that always 
four threads of the canvas remain un- 
covered opposite each corner of each 
square. This is also a guide in count- 
ing threads for the outlining of the next 
square. 

To make the small squares with eyelet 
centers, work for each side of the squares five 
threads of the floss over four threads of the can- 
vas. In working the eyelet the central threads of 
the canvas are not cut away, but are worked over 
with the linen thread. Lead through the opening 
in the canvas that is exactly in the center of the 
square and work over the two surrounding threads 
one stitch for each thread of the canvas until the 
square is worked all around. The evenness of the 
eyelet will depend upon the skill of the worker. 
Some practice is required before one can make 
eyelets evenly. Repeat the small squares with 
eyelet centers as shown in Figures Nos. 28 and 29. 
In working the straight edge around this de- 
sign, it will make a difference whether it is 
intended for a collar or cuff or for a shirt waist 
front. If for the latter the edge should extend 
entirely around the design, but for a collar or 
cuff it is needed only on three sides. To make 
this edge work the floss continuously over four 
threads of the canvas in a straight line ; in 




FIGURE NO. 33. — TRIMMING EDGE. 



THE LACE MAKER. 



13 




FIGURE NO. 34. — TRIMMING EDGE, 

every case at least two threads of the canvas 
should be left between the border and the outer 
edge of the design proper. At the corner the 
floss is worked miter-like over four threads, 
three threads and two threads and then for 
the new direction, at right angles, work the 
floss over two threads, three threads and four 
threads, respectively, before continuing the 
straight line of stitches over four threads of 
the canvas. To give a finish to this straight line 
of stitches an extra stitch is, at the last, worked 
on the outer side of the border over three 
threads of the canvas ; skip six threads of the 
canvas and repeat with a single stitch over three 
threads, continuing thus until the border is com- 
plete. If this finishing stitch should make the 
design too wide it may be omitted. 

To work the shirt-waist trimming at Figure 

No. 31, shown in detail 

at Figure No. 30, begin 

outlining the design 

proper at the corner 

shown in the upper left 

hand corner of Figure 

No. 30, by working three 

series of five lines of 

floss in one line over 

four threads of the can- 
vas, with plain spaces of 

four threads of the can- 
vas intervening. Change 

the direction by right 

angle and repeat by 

working similar series 

in straight lines on 



either side of the 
three first worked. 
The design thus 
outlined with 
series of five lines 
of floss over four 
threads of the can- 
vas and spaces of 
four threads of the 
canvas skipped al- 
ternately, may be 
filled in readily by 
following the illus- 
tration at Figure 
No. 30. The ro- 
settes in the center 
are worked from 
openings in the canvas exactly in the middle 
of the design. Start at the center and lead 
the floss over six threads of the canvas and 
returning to the central hole, lead it again 
over five threads and directly alongside the 
stitch just worked. Return again to the cen- 
tral hole and lead the floss over four threads of 
the canvas and directly alongside the five-thread 
stitch just worked. Return again to the central 
hole and work the floss over five and four 
threads, respectively, on the other side of the 
six-thread stitch first worked; this will complete 
one-fourth of the rosette. Repeat three times 
to finish. You will notice that four threads of 
the canvas are left between the outer edge of the 
design proper and its border. The first and 
fourth of these four threads are cut and drawn out 
and the second and third are left and are worked 




FIGURE NO. 35. — TRIMMING EDGE. 



H 



THE LACE MAKER. 



over with the linen thread, as in hemstitching, 
first on one side of each of the cross threads and 
then on the other side, taking up with each 
stitch the two lengthwise threads. This will 
appear like a cross stitch on the reverse side of 
the work and gives a pretty, open-work effect on 
each side of the design. To work the outer 
border, draw three lines of the floss over three 
threads of the canvas, and next this draw three 
lines of the floss over seven threads of the can- 
vas, repeating thus with three lines of the 

floss over three threads and 

seven threads of the canvas 
alternately. For this bor- 
der the canvas may be 
turned in like a hem and 
the border stitches worked 
through the two thick- 
nesses. It will, of course, 
depend upon the use made 
of the work as to whether 
the edge is hemmed or 
not. 

To make the trimming 
edge shown at Figure No. 
32, begin at the upper part 
of the design. Work twen- 
ty-eight lines of the floss 
over four threads of the 
canvas continuously and 
in a straight line, with no 
spaces ; then turn and 



outside border the illustration shows plainly that 
the floss, instead of being worked over and over, 
as in the outlining of the squares, is worked in 
stitches, so that the outer edge has a buttonholed 
finish. This makes a very pretty edge, suitable 
for decorating the shelves of linen closets or for 
simple collars and cuffs. 

Figure No. 33 shows plainly how the work is 
done. Care should be taken to work always five 
lines of the floss over four threads of the canvas. 
In weaving the bars observe, please, that the 



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lines of the floss over four 

threads of the canvas ; 

then work another series 

of seven lines over four 

threads at right angles. 

Repeat this five times, 

making in all seven series 

of seven lines of floss 

of the canvas as shown at Figure No. 32. For 

each of the under and two end openings cut 

six threads of the canvas each way ; for the 

large central opening cut seven threads, leaving 

four threads of the canvas at either side uncut 

for weaving into bars. After the bars are woven, 

as already described, two twisted lines of the 

linen thread are drawn diagonally across the 

central opening. If desired all the openings 

may have these lines ; and more than two can 

be worked with pretty effect. In working the 




FIGURE NO. 36. — CORNER OF TABLECLOTH, PARTLY WORKED. 



picot occurs only on inner side of the opening. 
In working the scallop on the edge of the de- 
sign, the illustration will show how the weaving 
on the outer edge is done and where the threads 
of the canvas cross. Here there are several but- 
tonhole stitches worked with the linen thread 
over the crossings, taking in the cut ends of the 
canvas threads. This gives the scallop-like 
effect. It is a very handsome trimming, and is 
also suitable for both sides of an uneven inser- 
tion. 

To work the trimming edge shown in Figure 



THE L.-ICJi MAKIiR. 



respectively, as shown in Figure No. 
25 ; four of these form the diamond in the 
center of the maltese cross. To make the 
opening's the threads of canvas must be 
cut on three sides of the squares, leaving 
four threads each way, which have not 
been worked over, for the woven bars 
shown in the illustration. The picots are 
made on one side only of the bars. This 
is a good, substantial pattern for heavy 
work. 

To work the trimming edge shown at 
Figure Xo. 35, start at the upper left- 
hand portion of the illustration and begin 
outlining by working five lines of the floss 
over four threads of the canvas ; skip four 
threads of the canvas and repeat another 
series of five lines of the floss over four 
threads of the canvas on the same line 
with the first series. Repeat, making in 
all five series of five lines of floss over 
four threads of the canvas, with open 
spaces of four threads of the canvas be- 
Xo. 34. begin at the upper part of the design in tween each series. From this point work a 
the illustration, working an unbroken row of new series like the others, at right angles. 




FIGURE NO. 



-CENTER PIECE. 






lines of the floss over four threads of the canvas 
When this is w'orked for a sufficient 
length, begin again at the left and f 
outline two squares with five lines j 
of the floss over four threads of 
the canvas. Xow skip the space 
of one square and outline one 
more regular square as in the illus- 
tration. From this work four 
series of fine lines of floss over four 
threads of the canvas, each being 
at a right angle to its predecessor. 
The fourth series is at the point of 
the design. From the point con- 
tinue outlining with series of five 
lines of the floss over four threads 
of the canvas, each series being at 
right angles to its predecessor to 
form the maltese cross which is 
shown more plainly at the right- 
hand lower part of the illustration. 
To make the four diamonds in the 
point, work the floss over two 
threads of the canvas, then over 
four, then over six, and then over 
eight threads of the canvas : then 
over six, four and two threads. 



Then change direction again 



as in 



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FIGURE NO. 3S. — A CORNER OF CENTER AT FIGURE NO. 37.' 



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FIGURE NO. 39. — CENTER PIECE. 

No. 35, and work on a line with each other 
two more similar series, with a space of four 
lines of the canvas between. The opposite 
side of the design is outlined in the same man- 
ner, and the end at the left, shown 
in the illustration, is outlined with 
five series of floss lines each with 
spaces between each of four 
threads of the canvas. The out- 
lining of the right-hand section is 
like that of the section at the left 
of the illustration. The centers of 
the two sections are different, and 
for a longer design than that 
shown in the illustration, the two 
sections are intended to alternate 
with each other. The stitches in 
the four central openings are 
worked with twisted linen thread. 
More elaborate stitches may be 
used if desired. To make the 
outer edge, four threads of the can- 
vas are cut and drawn out as 
shown in the illustration. The 
threads not cut are woven under- 
and-over with the linen thread 
thus forming bars. After this 
the work is turned over or hemmed 
in such a way that the bars are 



and they thus form a loop 



doubled 
edge. 

Figure No. 36 shows plainly how 
this design is worked. It includes 
three squares of a border for a tea cloth. 
The corner square is finished; that to 
the left of it shows how the threads 
are cut and drawn for the bar work and 
the upper square shows how the work 
looks with the outlining completed be- 
fore the threads of the canvas are cut 
for the bar weaving. The open work 
around the squares represents the fin- 
ished effect, shows how the threads are 
cut and drawn and the method of out- 
lining the work before the threads are 
cut. To make the edge of this design 
the canvas is buttonholed with the floss 
over four threads of the canvas. The 
little squares just at the corner are but- 
tonholed along their outer edges. After 
this comes a straight piece of button- 
holing and then the edges of the squares 

again. This edge is to be continued around the 

entire cover. 

In working the center piece at Figure No. 37, 

shown in detail at Figure No. 38, the outlining 



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FIGURE NO. 40. — A CORNER OF CENTER AT FIGURE NO. 39, 



THE LACE MAKER. 



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FIGURE NO. 41. — SMALL COVER. 

is done in a similar manner to that described for 
the squares of Figure No. 28. The small, open 
squares form the diagonal lines of open work 
around the entire cover. The large openings 
are bordered on three sides with series of small 
squares outlined with the floss, and are repro- 
ductions of the series of five lines of the floss 
drawn over four threads of the canvas, as shown 
in Figure No. 25. In every square forming an 
inner or outer point in this series of small 
squares, the center is worked with an eyelet like 
that described for Figure No. 28, and also shown 
at Figure No. 49. The buttonholed edge fol- 





FIGURE NO. 43. — CORNER OF COVER AT FIGURE NO. 41. 

lows the outer edges of the little squares entirely 
around the center piece. This is a most beauti- 
ful design and one of the handsomest that can 
be made in this kind of work for a center piece. 
The center piece at Figure No. 39, shown in 
detail in Figure No. 40, is a plainer design than 
that shown at Figure No. 37. It will not re- 
quire such an amount of work to complete. 
This style, however, is very durable, and will 
stand a great deal of wear. The piece measures 
about twenty-eight inches, but the same design 
can be used for smaller or larger pieces by 
decreasing or adding to the number of squares 









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FIGURE NO. 42. — CORNER OF COVER AT FIGURE NO. 44. 



FIGURE NO. 44. — SMALL COVER. 



THE LACE MAKER. 



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FIGURE NO. 45. — DOILY. 

which form the border. The outer edge is 
turned under about an inch and a half deep 
and hemmed. The border is then worked with 
the floss through both thicknesses of the can- 
vas. This makes the edge doubly strong. The 
straight rows of openings inside and outside the 
squares are outlined with unbroken rows of the 
floss worked over four threads of the canvas ; 
four threads of the canvas are cut for the open- 
ings and four are left for the woven bars, alter- 
nately, in two rows, entirely around the center 
piece. Figure No. 40 shows the detail so plainly 
that with the instruction already given for the 
more elaborate designs in this number one may 
easily carry out the work as this has been done. 
The small cover at Figure No. 41, shown 
in detail at Figure No. 43, is a simple design and 
a very good one for a beginner. The cover illus- 




•Sf§iSi§i 



FIGURE NO. 47. — DOILY. 

trated measures sixteen inches square. Bv add- 
ing another diamond to each of the four sides 
the size would be twenty inches. Plate doilies 
ten inches square could be made from this same 
design, to match the center, by using three of 
the diamonds for each side of a doily. The 
canvas is doubled for the edge and hemmed, 
and the stitches in the last row of the design 
are worked through . both thicknesses of the 
canvas. 

A still more simple design, very effective for a 
set of center pieces and doilies, or for a border 
for covers, is shown at Figure No. 44, and illus- 
trated in detail at Figure No. 42. This needs 
no further instruction than that already given 
for the more elaborate designs. There is such 
a diversity of ways in which this work can be 
done that when one is familiar with the various 
forms and stitches, one's artistic taste will susr- 



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FIGURE NO. 46. — DOILY. 



FIGURE NO. 48. — DOILY. 



THE LACE MAKER. 



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FIGURE NO. 49. — SECTION OF DESIGN FOR COLLAR AND CUFFS. 



gest attractive designs which may be followed 
with most satisfactory results. On page 18, at 
Figures Nos. 45, 4G, 47 and 48, are shown de- 
signs for finger-bowl doilies. Any one of the 
four designs would make a very handsome set 
that could be. used with any of the center pieces 
and plate doilies already described in this book. 

A section of a good design for a collar-and- 
cuff set is shown at Figure No. 49 and is intended 
to be used in about the same manner as that 
shown in the collar-and-cuff sets at Figure No. 
50. These are the most fashionable decorations 
for collars and wristbands in use 
at the present time. In place 
of the white floss one may use 
red, pink, blue, green or black 
floss. 

Wristbands may be made and 
sewed to the sleeve of the shirt 
waist if that style is preferred 
to the turn-back wristband 
shown. 

Figure No. 51 shows a deep 
edge for flouncing. This would 
also be an exquisite curtain bor- 
der if worked on scrim. 

Figure No. 52 shows a hand- 
some design for a pillow case or 
for the corners of a sofa pillow. 
The different medallions may be 
copied for any other kind of 
work. 

Figure No. 53 represents a 



'9 

worked on heavy canvas 
or scrim. 

Referring again to the 
shirt-waist designs in this 
lesson, we wish to say that 
skirt decorations to match 
may be made from them, 
thus completing, very beau- 
tifully, shirt-waist costumes. 
Three bands on the front 
panel of a skirt with the 
center band reaching from 
the bottom of the panel 
two-thirds of the way to 
the belt and the one at 
either side being a few- 
inches shorter, is a popular 
way of using Hardanger bands on the skirt of a 
shirt-waist costume. Purchased ready-made, 
these garments cost fabulous prices. Made at 
home from the designs and instructions given in 
this book, garments decorated with Hardanger 
laces or embroidery will be within the reach 
of every one. The materials are not expensive 
and the work is very easily done. 

Like Irish-crochet lace, Hardanger is very 
fascinating work, its possibilities as to design 
are unlimited and the ingenuity of the worker 
enters largely into its construction. On account 



very handsome design for a table 
. cover or buffet scarf to be 




FIGURE NO. 50.- 



:OLLAR AND CUFF SETS. 



20 



THE LACE MAKER. 





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FIGU^tE 

NO. 1-2. 

PILLOW-CASE 

CORNER. 



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FIGURE NO. 51. — DEEP EDGE FOR FLOUNCING. 

of its being made with rather coarse materials 
the work is not at all hard on the eyes. 

In Norway mothers teach their children to 
work the simpler patterns on bands which are 
used to fasten the dozen or half-dozen towels, 
pillow slips, etc., in their linen closets ; and 
even the valance, almost invariably seen on the 
linen-closet shelves, is decorated with an edge of 
Hardanger lace. 

One room was seen entirely decorated with 
Hardanger lace. It included 
pretty curtains for the bed and 
a cover for the same having a 
deep valance with a Hardanger 
border. The sheets had inser- 
tions of the work just outside the 
hem ; corners were inserted in 
the pillow covers; the quaint 
old dresser and chiffonier were 
provided with covers having 
Hardanger borders; a dainty 
cover was provided for the bed- 
side table, and light scrim cur- 
tains with Hardinger borders 
shaded the windows. These 
decorations represented months 
of labor and the combined effect 
was most beautiful. 

As one becomes familiar with 
the Hardanger work, they may 
evolve the designs on cloth of 
different weaving, such as pretty 
colored linens of coarse weave 
or, in fact, on any fabric in which 
the threads may be counted. It 
would be wise to experiment 




first on a small \^ 

piece of the cloth be- 
fore undertaking a de- 
sign on new goods in order 
to ascertain how many threads 
should be worked over to properly 
bring out the design. In goods of 
single-thread weave, the marking out 
should cover more threads than if the goods were 
of two-thread weave, as in the regular Hardan- 
ger canvas, because four threads are indispen- 
sable for the weaving of the bars. The work 
can be done with colored flosses on cream or 
white goods. The rich greens, reds, lavenders 
and orange shades are suitable for this. 




FIGURE NO. 53. — CORNER OF TABLE-COVER DESIGN. 



THE LACE MAKER. 



21 



Lace JMaking. 

Third Lesson on 

HARDANGER LACE. 

By Sara Hadley. 




HE editor of The Lace Maker is very 
much pleased at the interest shown 
by its readers in Hardanger work, 
and she has 



signs are entirely different from those previously 
presented. Round designs, for instance, thought 
by many workers impossible to make satisfactorily 



also been sur- 
prised at the 
beautiful 
pieces they 
have made 
with help from 
no other 
source whatever than the 
designs and instructions we 
have previously given in 
The Lace Maker. In re- 
sponse to numerous urgent 
requests she has felt it 
necessary to present this 
third and advanced lesson 
on Hardanger lace. The 
two preceding Hardanger 
lessons referred to appeared 
in The Lace Maker for 
June, 1903, and February, 
1904. 

In this lesson the de- 




FIGURE NO. 55. 
SAMPLER SHOWING HOW MEDALLIONS MAY BE WORKED FOR ROUND DESIGNS. 




FIGURE NO. 54. — SAMPLER OF STITCHES. 



in Hardanger, can be done with very 
beautiful results as evidenced by the 
illustrations on pages 21 and 25 of this 
book. The buttons and belts, Figures 
Nos. 58 and 88, are also new adaptations 
of the work. 

Figure No. 54 is a sampler showing 
the different stitches used in the making 
of the center pieces, tea cloths, bureau 
covers, pillow top, etc., shown in this 
lesson. These stitches may easily be 
copied from the illustrations by one hav- 
ing only a slight knowledge of the work. 
They will be treated in detail in this 
lesson in the description of the making 
of the different pieces of which they 
form a part. 

In Figure No. 55 an idea is given how 
octagonal and round pieces are worked, 
how the spaces may be filled with differ- 
ent fancy stitches, the threads cut and 
bars woven, and how the edge is finished. 



22 



THE LACE MAKER. 




' FIGURE NO. 56. — SHIRT-WAIST AND COLLAR. 
WORKED BY MRS. J. S. EWAN. 

Figure No. 56 presents a shirt waist made of 
Hardanger canvas and worked as shown. It gives 
a good idea of how a shirt waist may be orna- 
mented with a pattern not very difficult in itself 
but presenting a beautiful finished effect. But- 
tons like those shown at Figure No. 58 are used as 
a finish for the front plait. The latter is first 
planned and from this the threads should be 
counted for the accurate locating of the worked 
sections. The little squares are first marked out 
by working five lines of floss over four threads 
of the canvas. The length of the worked sections 
may be determined by the weave of canvas used. 
If of coarse canvas, fewer squares between the 
medallions will be required than if a finer 
weave is selected or used. After the design is 
marked out, the threads of the canvas are cut, 
care being taken to cut only where the marking 
out has been done and to leave four threads of 
the canvas for the weaving of the bars. This is 
clone with round linen thread (not with floss) 
over two threads and under two threads of the 
canvas. This is shown in detail in the star- 
shaped medallion of the sampler at Figure No. 54 
and also in the sampler shown at Figure No. 25, 
illustrated on page 9 of this book. This 
same design may easily be adopted for ornament- 



ing a skirt to match the waist. The worked sec- 
tions could appear between the plaits of the skirt. 
A belt worked in the same design would make a 
good finish for the suit. 

Figure No. 57 is a design for a shirt waist in- 
tended to open in the back. The two outside 
rows of the central panel should first be marked 
out with the floss, five lines of the floss being 
worked over four threads of the canvas. Leave 
a space of four threads and work five lines of 
floss again and space as before, repeating this 
alternately until you have marked out a sufficient 
length for the waist. Between the two outside 
rows of the central panel, worked as above, fifty- 
two threads of the canvas should be left for the 
open work and medallions through the center, 
thus allowing for six worked bars and seven open 
spaces, which require four threads of the canvas 
for each. To form the medallions begin at the 
neck with a half-medallion, and mark out with 
five lines of the floss over four threads of the 



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FIGURE NO. J 


". — SHIRT-WAIST 


AND COLLAR. 



LofC. 



THE LACE MAKER. 



canvas in diagonal progression, as shown in the 
illustration. The seventh series of five lines forms 
the center. Repeat as before to the opposite side. 
The center of each medallion is filled with four 
double lines of diagonal stitches the same as 
shown at the lower right-hand corner of the 
sampler in Figure No. 54. Leave a space in the 
center of each medallion for five worked eyelets. 
For these the canvas is not cut. They are 
worked over two threads of the canvas in a circle, 
using for each stitch the same central hole. In 
each of the four corners of each medallion nine 
little dots are marked with one line of the floss 
drawn diagonally over two threads of the canvas, 
three rows each way. For the outer portion of 
the design : First mark off . the diamonds with 
double rows of stitches using the linen thread and 
working diagonally over two threads of the 
canvas. To obtain the open effect the inside row 
is worked over twice. This stitch is shown in 
detail in the upper right-hand corner of the 
sampler at Figure No. 25, illustrated on page 
9 of this book. To work the open squares in 
the diamonds, mark out with five lines of the 
floss over four threads of the canvas, leave a 
space of four threads and repeat with five more 
lines of floss over four threads of canvas, thus 
marking out one side of the square. Repeat 
this for the three other sides of the square. The 
half-diamonds next the central panel are filled 
with a half square or oblong worked in a similar 
manner. For each of the square openings of 
this design four threads of the canvas are cut 
and four are left for the weaving. The weaving 
is done with the linen thread over two threads 
and under two threads of the canvas. To make 



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FIGURE NO. 59. — SHIRT-WAIST. 
WORKED BY MRS. J. S. EWAN. 




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FIGURE NO. 58. — HARDANGER BUTTONS. 
DESIGNED BY MRS. J. S. EWAN. 



FIGURE NO. (30. — SKIRT DECORATION. 
WORKED BY MRS. J. S. EWAN. 

the picots, two of which are on each of 
the bars, wind the thread two or three 
times around the needle and draw thread 
tightly through the windings. Repeat 
this for the picot at the opposite side 
of the bar and continue weaving. The 



24 



THE LACE MAKER. 



design for the collar is exactly the same as the 
central panel of the waist front. This may be 
attached to, and worn with, the waist or worn 
separately as may be desired. 

Figure No. 58 shows several designs of buttons 
worked with floss on Hardanger canvas and sewn 
over button moulds. The stitches may easily be 
copied from the illustration. The buttons can be 
made as elaborate as desired and in any design 
suited to the size of the buttons. They are ap- 
propriate for use not only for Hardanger waists, 




FIGURE NO. 61. — BUREAU PIECE. 

but they can be worked to ornament 
coats and wool suits with colored silks 
on the same material of which the gown 
or coat is made. A handsome set of but- 
tons have been designed and made for a 
wool suit of golden-brown canvas 
worked with silk thread of green, red 
and yellow shades ; they were elabor- 
ately used on the waist and formed an 
important part of the trimming for the 
skirt. 

Figures Nos. 59 and 60 show a hand- 
some design planned for the waist and 
skirt of a shirt-waist suit. In develop- 
ing it the design is first marked out with 
the floss, five lines of the same being 
worked over four threads of the canvas. 
It is important to. remember that in every 
piece of Hardanger work the marking 
out with the floss must first be done be- 
fore the threads of the canvas can be cut 
and left uncut for the openings and the 
woven bars respectively. The marking 



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FIGURE NO. 62. — END OF SIDE-BOARD COVER. 

out of the squares in this design can easily be 
followed from the illustration. The stars worked 
in the diamonds are made in the manner shown 
by the sampler at Figure No. 54. These stars can 
be worked smaller or "larger as the space requires. 
The narrow open-work line around the inner and 
outer edges of the diamonds is worked in the same 
manner as the diamonds around the squares in 
the outer portions of the waist shown at Figure 
No. 57. 

Figure No. 61 suggests a cover that can be used 
on an old-fashioned high bureau where a box 
or drawer is on either side and a lower flat space 
is in front of the glass in the center. The illus- 
tration shows a cover planned for one of the 
boxes. Another like it is used on the other box 
and a larger cover of the same design is used 
for the center. This design is a succession of 




FIGURE NO. 63.— TEA CLOTH. 



THE LACE MAKER. 



25 



■ 

Ml ' ill 

' W V s " 




t 
■v 



f 



■V 



FIGURE NO. 64. — QUARTER OF CENTER PIECE. 

diamonds with only four threads of the canvas 
left between each two diamonds. The center 
of each outer diamond is all woven bars with 
four central openings worked with a simple 
lace stitch. The inner diamonds require no cut- 
ting of the canvas. They are made up of nine 
small squares worked, three each way. Five 
lines of the floss are worked over four threads 
of the canvas to form one side of one of the nine 
small squares. A space of four threads of the 
canvas is left between each series of five lines of 
floss. The worker may always know that the 



FIGURE NO. 66. — QUARTER OF CENTER PIECE. 

work is correct if the four threads of the canvas 
can be counted between. For the center cover 
of this set, six or seven (or more) diamonds 
long by four (or more) wide will probably be 
required, according to the space to be covered. 
A buttonholed scallop, worked over four threads 
of the canvas, finishes the outer edge of all 
three covers. This is a substantial design and 
one very suitable for bed-spreads and pillow- 
shams. 

Figure No. 62 is an attractive design for a 
cover well-adapted for a side-board. The open 




FIGURE NO. 65. — QUARTER OF CENTER PIECE. 



FIGURE NO. 67. — QUARTER OF CENTER PIECE. 



26 



THE LACE MAKER. 




FIGURE NO. 68. — DOILY. 




FIGURE NO. 69. — DOILY. 



C m 












FIGURE NO. 70. 
DETAIL OF BUREAU MAT. FIGURE NO. 73. 



row around the 
inch - and - a - half 
hem of this cover 
is made first with 
a continuous series 
of lines of the floss 
worked over three 
threads of the can- 
vas. A second con- 
tinuous series is 
worked parallel to 
the first, leaving 
between them six 
threads of the can- 
vas. The length- 
wise threads of the 
canvas are cut and 
drawn, but the cross 
threads are left. 
These are worked 
back and forth dia- 
gonally, with the linen 
thread which is 
wound around two of 
the cross threads to 
the opposite side; just 
at their ends take in 
the next two cross 
threads, joining the 
four threads together 
with a lace knot- 
stitch. Reverse by 
winding the linen 
thread around the 
two new cross threads 
and at their ends take ' 
in the next two cross- 
threads, joining all 
with a lace knot- 
stitch as before, and 
so continue. This 
makes a handsome 
and substantial border 
for any Hardanger 
piece that is to be fin- 
ished with a hem. 
The design proper is 
made up of half dia- 
monds and between 
these are half stars 
and eyelets. If car- 
ried out on canvas of 




FIGURE NO. 71. — CUSHION T0I\ 




FIGURE NO. 



-DOILY. 




FIGURE NO. 73. — BUREAU MAT. 



THE LACE MAKER. 



a coarse weave, this design would 

be very effective, and especially ap- 
propriate for the serving- table as 

well as the side-board. 

Figure No. 63. — It is well first to 

mark out the outer row of diag- 
onal groups entirely around the 

design. This is worked with seven 

lines of the floss over six threads 

of the canvas. As this is a larger 

cover, with large figures, the 

stitches are proportionately large. 

Thirty threads of the canvas are 

left between the diagonal groups 

of seven lines of floss over six 

threads of the canvas which form 

the borders of the straight open- 
work. It requires fourteen diagonal 

series of seven lines of the floss over 

six threads of the canvas to form 

one side of each of the large 

squares. The small squares on the 

edge of the design between the large 

squares require eight of the same 

series for one of their sides. For 

the open-work, six threads of the 
canvas are cut and six are left uncut. The 
weaving is done with the linen thread over three 
of these and under three. This, of course, makes 
a heavier and more substantial bar best suited 
to a large piece of the work. The medallions in- 
side the large square are made up of four, 
exactly the same as the medallion inside the 
small square. Each of these is marked out with 



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FIGURE NO. 75. — CORNER OF SIDE-BOARD COVER SHOWN AT FIGURE NO. 21. 



seven lines of the floss over six threads of the 
canvas, followed by seven lines of the floss 
over twelve threads of the canvas, and then an- 
other group of seven lines of the floss over six 
threads of the canvas. 

The three groups constitute one side of 
each of the small medallions. Care should be 
taken to have the seven lines of the floss over 



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FIGURE NO. 74. — SIDE-BOARD COVER. 



28 



THE LACE MAKER. 



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FIGURE NO. 76. — CENTER PIECE. 

twelve threads of the canvas exactly on a line 
with the corner of the large square. If the first 
medallion is started right and is 
completed the others can be easily 
worked as the long stitches of one 
side will meet, exactly, the long 
. stitches of the opposite side. The 
central openings of the straight 
open-work rows are filled with a 
simple loop-stitch taken into the 
four sides of the opening. If de- 
sired, the cover can be made more 
elaborate by filling all of the 
openings with a variety of stitches. 
The openings of the medallions are 
crossed diagonally with simply a 
twisted thread. A buttonholed 
scallop worked over six threads of 
the canvas finishes the outer edge. 
Very handsome curtains could be 
made from this design using colored 
scrim and heavy cream thread. 

Figure No. 64 is an all over de- 
sign in octagon shape. In work- 
ing an octagon piece, be careful to 
measure your goods in eight sec- 
tions so that a quarter of the de- 
sign to be used can be made at a 



time, to be followed successively with 
another quarter until the piece is finished. 
The center medallion of this design 
should be marked out first. It has five 
plain openings on each of its four sides 
(three of these are shown in the illus- 
tration at Figure No. 64), and these 
five openings are bordered by ten series 
of seven lines of the floss over six threads 
of the canvas. The next inner rows of 
openings in the central figure are filled 
with a simple lace stitch. The next 
inner rows of openings are left plain and 
the next are filled with the simple stitch 
as before. The central opening is left 
plain. After the central medallion is 
made, four rows of squares in simple 
line work are marked out with a single 
line of the floss. Each of the squares 
thus marked covers six threads each way 
of the canvas. The odd shaped figures 
next to these squares are worked with 
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the design develops. The first stitch or line of 
the floss is worked over six threads of the canvas. 











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FIGURE NO. 77. — CENTER PIECE. 



THE LACE MAKER. 



29 



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FIGURE NO. 78. — TEA CLOTH. 

the second covers seven threads, the next eight, 
and so on until eighteen threads of the canvas 
are taken in. Here begins a series 
of thirteen lines of the floss over 
six threads of the canvas. An ob- 
long opening measuring six by thir- 
teen threads of the canvas is left 
and next this is worked another 
graduated series of lines of the 
floss, twelve in all, the first over 
six threads, the second over seven 
and so on, taking in an extra thread 
of the canvas with each successive 
line. Be sure to leave six threads 
of the canvas uncovered. Next is 
a straight series of eleven lines of 
the floss over six threads of the 
canvas. Another graduated series 
of eleven lines of the floss is worked 
opposite this straight series, with 
another oblong plain space of six 
by eleven threads of the canvas be- 
tween. The figure is completed 
with a fourth graduated series of 
lines of the floss, each line de- 
creasing one thread of the canvas 
over its predecessor, up to the last 
line which covers just six threads 



of the canvas. These antique shapes, once 
the worker learns how to make them, may 
be arranged in any way — crosswise, length- 
wise, in groups, etc., and they can be used 
with good effect on most any odd-shaped 
piece of Hardanger work. The small and 
solid odd-shaped figures have each twenty- 
five lines of the floss. The first being over 
six threads of the canvas, the second over 
seven and so on, each line of floss increas- 
ing one thread up to the thirteenth, in- 
clusive, which is over eighteen threads of 
the canvas ; from here the lines of floss 
decrease again, each being worked over 
one less thread of the canvas, the last line 
being over six threads only. The small 
open work medallion is marked out with 
a series of seven lines of floss over six 
threads of the canvas. Next there are 
seven lines over twelve threads, and again 
seven lines over six threads. Work at 
right angles to the three just done, seven 
lines over six threads and repeat diagon- 
ally. Here follow three more series like 
the first of seven lines over six threads, seven 
lines over twelve threads and seven lines over 



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FIGURE NO. 79. — TEA CLOTH. 



THE LACE MAKER. 



six threads ; continue thus until the four sides of 
the medallion are marked out. Cut for the open- 
ings where the marking is done, leaving six 
threads of the canvas for the bars which are 
woven with the linen thread over three and under 
three threads alternately. A deep buttonholed 
scallop finishes the edge. 

Figure No. 65 is a very handsome design for 
a round center piece. This has a great deal of 
the bar work which always gives a handsome 
effect. The illustration shows exactly one- 
quarter of the center. The markings are uni- 
formly in series of five lines of the floss over 
four threads of the canvas. The design may 
easily be copied by counting the openings. The 



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FIGURE NO. SO. CENTER PIECE. 

rosettes worked in the centers of the squares are 
shown on the sampler at Figure No. 54. The 
method of working the picots used on the bars 
of some of the squares are described in the direc- 
tions for working Figure No. 57 (see also sam- 
pler. Figure No. 54). 

Figure No. G6 is another handsome design 
for a round center piece. After creasing the 
canvas in quarters it is well to run a basting 
thread along the crease as a guide to prevent 
working beyond the quarter. Commence with the 
large, central medallion. The four sides have 
ten little worked diamonds to each side. The 
marking out is done in series of five lines over 
four threads of the canvas. After the lar«-e 




FIGURE NO. 81. — TABLE COVER. 

medallion is marked out, it is easy to mark out 
the two smaller medallions as each is worked 
out of a corner of the larger one. A cone-shaped 
figure is marked out on each of the four sides 
of the square. This begins at its base with a 
series of nine lines of the floss over four threads 
of the canvas, then four lines over eight threads, 
then four lines over four threads. This double 
series of four over eight and four over four 
threads is repeated five times, and the cone is 
finished to its apex by a series of eight lines 
over four threads of the canvas. The other side 









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FIGURE NO. 82. — SECTION OF FILLOW TOP. 



THE LACE MAKER. 



of the cone is made the same. In the center 
of the cone is an open-work square, each side 
of which is marked out with five lines of floss 
over four threads, five over eight and five over 
four again. In the openings four threads are left 
for weaving. Sixteen large, buttonholed scallops 
are necessary for the border of each quarter of 
this design. There is great opportunity for the 
exercise of one's artistic instinct in the making of 
these round covers as the diamonds and squares 




FIGURE NO. 83. — CHILD'S DRESS. 
DESIGNED BY MRS. J. S. EWAN. 

can be used in countless forms and combina- 
tions. 

Figure No. 67 is the most elaborate of the 
round pieces shown. The work is a combina- 
tion of the two kinds of squares described for 
Figures Xos. Go and 66. To fill out the round 
of the border small diamonds like those shown 
at Figure Xo. 54 are worked here and there. 
These are very prettv to use for filling in where 
the work does not extend to the edge of the 
design. 




FIGURE NO. 84. — DETAIL OF STOCK COLLARS. 

Figures Nos. 68, 69 and 72 are sample doilies 
which, we are confident, may be readily copied 
from the illustrations with the help of the direc- 
tions already given. Hardanger doilies are in 
great favor on account of their being very sub- 
stantial and because they may be cleaned by 
simple home-laundering. Plate doilies and tray 
doilies can be made from these same designs 
by adding to the number of figures. 

Figure No. 70 is a working section of Figure 
No. 73. It is so plainly illustrated that no further 
instruction is necessary. 

Figure No. 71 shows a cushion top which is 
worked on canvas of rather fine weave. A 
bureau cover matching this cushion top has been 




FIGURE NO. So. — COLLAR AND CUFF SETS. 



32 



THE LACE MAKER. 



planned to have the center canvas section of the 
cushion top in the center and on two sides of the 
same, the balance of the cover being worked 
entirely like the border of this cushion top. 

Figures Nos. 74 and 75 show a handsome 
side-board cover. The detail shown at Figure 
No. 75 will enable one to easily copy it. Note 
that diamonds and crosses follow each other 
alternately. The marking-out is in series of five 
lines over four threads of the canvas. The 
figures may be less or more as the size of the 




FIGURE NO. S6. — DESIGNS FOR COLLARS AND CUFFS. 

cover may require. A border resembling double 
hemstitching is used and is worked as follows : 
The outer part is a continuous series of close 
stitches of the floss worked over three threads 
of the canvas. The inner part is worked the 
same with twelve threads of the canvas left 
between. Of the twelve threads four are cut 
and four are left, and the third four cut. With 
linen thread work diagonally back and forth 
taking in four threads of the canvas on either 
side of the center, knotting each four at the cen- 
ter as you go along. The corners are finished 
with the woven cross. 

Figure No. 76 is a large center piece having 
a worked medallion for the center. The work 
is started from the corner by marking out the 
large medallion. The center medallion is a 
duplicate of this. The method of working the 
two open-work rows is plainly shown on the sam- 
pler at Figure No. 54. 

Figure No. 77 is a popular design on account 
of the open, lace-like squares in each of the open- 
work diamonds. 




FIGURE NO. 87. — COLLAR AND CUFF WORKED WITH SILK. 



Figure No. 



78 is an elaborate border similar 
to Figure No. 76, except that the border is open 
and pointed instead of hemstitched, and it has 
no work in the center, which the serving tray 
usually covers. 

Figure No. 79 is a very handsome design and 
is an example of what patience, neatness and care 
may produce. 

Figure No. 81. — For a table cover two yards 
or two and a half yards wide, one must use two 
widths of canvas, say, 40 to 48 inches wide, 
joining the two pieces through the center with 
two rows of open-work stitches. This joining 
appears to be a part of the work and adds to 
the beauty of the cloth. The join can be made 
crosswise instead of lengthwise, if preferred. 

Figure No. 82. — One section of this design is 
shown commenced at Figure No. 54. 

Figures Nos. 83 to 88 illustrate designs in 
Hardanger work that may be easily followed or 
that will give suggestions for similar work. 




FIGURE NO. 88. — SHIRT-WAIST BELTS. 
DESIGNED BY MRS. J. S. EWAN. 



r 



OCT 14 1904 
mSSSL 0F C0NG RESS 

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